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Class \ ZD 2,277 1 



Book. 



%righrF \&&& 



CGBSIGHT DEPOSU6 




?j£ ATf-fHRiNS FROM THE PAVEMENT '2 gREViSE, AS A 



M. 



FLOWERET OF THE SOIL , 



HE NOBILITY OF LABOR,-- THE LONK PEDIGREE OF 



"■OIL 






Jpr^mtorjj 



w 



Jlttwmkrjj 



BY 



* HENRY ¥. LONGFELLOW^ 



H ILLUSTRATED* WITH K 



amentn-Cight PjotogramtKa bg tlje <&cbbk & ffasdm (So., Ctmiteb 



H ILLUMINATED * AND ♦ ARRANGED K 

BY 

iHorD ffi. anil ^mg (Eomeggs 

6 




PHILADELPHIA 

GEBBIE & CO., PUBLISHERS 

1888 






COPYRIGHTED, 1888, BY GEBBIE &. CO. 



Published by permission of and by arrangement with Houghton, Mifflin & Co., 
publishers of Longfellow's works. 



I 



fN these days of demolition, when the utilitarian Zeitgeist sweeps 
through towns and cities, levelling walls, tearing down ancient 

buildings, obliterating old landmarks, and raising over the ruins 
more or less successful imitations of the model city of the century, 
Paris, there is still remaining an almost unchanged picture of the 
German towns of the Middle Age. 

Over a wide moat, through feudal walls, guarded still by a hun- 
dred towers, we enter the gates of Nuremberg. The steep, narrow 
streets, the houses with high-pitched, red-tiled roofs, broken by long 
rows of little windows, through which one fancies the tiny house 
gnomes may be peeping, the rich Gothic and Renaissance deco- 
rations lavished on lofty gables and oriel windows, street fountains 
and church portals, bring to mind the admiring words of that trav- 
eller Pope, Eneas Sylvius, that a simple burgher of Nuremberg was 
better lodged than the King of Scotland. 

From the great storehouses filled with hops, comes a drowsy fra- 
grance, that fills the air and wraps one in a dream of the long ago. 
In fancy, hand-in-hand with the three great sculptors, we pace 
the quiet streets. Here, enriched with carvings of electors and 
heroes, stands the Beautiful Fountain, still, as of old, the centre of 
the business life of the town, and, in the kindly belief of a simple- 
hearted people, the dispenser of all good gifts. " Bs ist ein Geschenk 
von dem Schone Brunnen," says the house-mother, when the chil- 
dren stand in admiring circle round the new baby. Passing beneath 
the Virgin train that keep watch over the Bride's Door, we pause to 
study the great bronze sarcophagus and canopy, which made Peter 
Vischer no unworthy rival of Ghiberti and Donatello. Like twin 
castles, on either side the Pegnitz, stand the lofty churches of St. Se- 
bald and St. Lawrence. From Sebald's side we cross the quaint old 
bridge to the heights St. Lawrence guards, and from his exquisite 
shrine the strong, earnest face of Adam Krafft looks up to us, as if 
we had surprised him in the midst of his work ; while Veit Stoss 
bids us look above, where hangs his curious carving of the Annunci- 
ation. But though the Sacrament-House is now empty, and no 
clouds of incense dim the " painted air," the statues and relics of the 
saints remain uninjured in their ancient shrines and niches. With 



a blush of shame for the iconoclastic fury of our Puritan ancestors, 
we admire the noble toleration of an art-loving people, which, though 
their city stood out the first of the free imperial towns as a cham- 
pion of Protestantism, preserves with jealous care the works of her 
great artists of another faith. The grand chorales of Luther are 
echoing to-day through the high arches, and the simple forms of 
worship are carried on without distraction, amid the altars and pic- 
tures of the Church of Rome. Can we wonder that the greatest of 
her sons should declare that he " chose to live in a moderate manner 
in Nuremberg" rather than "to' be great and rich elsewhere." The 
name of Albrecht Diirer will be linked to all time with the brightest 
pages of the history of his beloved city. When we climb the steep 
street to his house, still standing close to the walls of the ancient 
castle, we are at no loss to tell where he obtained the rich architectural 
effects he delighted to introduce into the landscapes of his pictures. 

Through the small, low-ceiled rooms we walk with reverent 
tread, for here for fifteen years he worked upon that marvellous 
series of pictures of the life and passion of our Lord, in which the 
pure faith and devotion of the artist impress us' as nowhere else, 
except when we stand in the convent cells of San Marco, and gaze 
on the walls where, with tear-dimmed eyes, Fra Augelico painted 
the loved form of his crucified Lord. In the Life of the Virgin we 
have a lovely Nuremberg idyll, scenes, it ma}' be, from the family 
life of this very home. We climb the narrow oaken stair and look 
from the small windows up to the castle, where for a time dwelt 
that restless, romantic spirit whom Albrecht Diirer delighted to call 
"his king" and "the dear Prince Maximiliau ; " and the poetic 
nature of the White King found in Diirer the artist best fitted to 
illustrate the semi-allegoric history of his life and exploits, which he 
never wearied writing. 

In this old house, in Passion Week, 1528, the earthly life of 
Albrecht Diirer ended, and without doubt his prayer was answered : 
" The Lord God grant that I also may have a happy end, and that 
God with His heavenly host, my father, mother and friends, will be 
present at my death." 

As a small tribute to the memory of our great poet, whose 
word-pictures have led many wanderers from his own land thither, 
and in loving gratitude for the happy days we were ourselves per- 
mitted to spend there, this little souvenir of Nuremberg has been 
prepared. C. C. 



List of Photogravure Illustrations. 



/ i. Frontispiece — Portrait of Albrecht Diirer, by himself. 

f 2. Title Page— -The Bride's Door, St. Sebald's Church. 

3. The Pegnitz. 

4. Diirer Platz and Castle. 

5. Emperor Maximilian, from Hofkirche, Innsbruck. 

. 6. Fleischbank. 

\ 7. Heidenthurm, Nuremberg Castle. 

. 8. St. Sebald's Rectory. 

■ 9. The Schone Brunnen. 

" 10. Portal of St. Lorenz. 

> n. Shrine of St. Sebald, by Peter Vischer. 

. 12. Pyx, Church of St. Lorenz, by Adam Krafft. 

, 13. Albrecht Diirer's House. 

, 14. Praying Hands, by Albrecht Diirer, Museum, Vienna. 

15. Churchyard of St. John and Tomb of Albrecht Diirer. 

1 16. Diirer Platz and Statue of Albrecht Diirer. 

17. Church of St. Lorenz. 

18. Old Bridge. 

19. General View of Nuremberg from the Castle. 

20. Market Place and Schone Brunnen. 

. 3i. Statue of Hans Sachs. 

, 22. Stammhof. 

23. Portrait of Hans Sachs. 

24. Himmelsthurm, Nuremberg Castle. 

25. Charlemagne, by Albrecht Diirer. 

26. Hans Sachs and Albrecht Diirer. 

27. Panier's Platz. 

28. Melancolia, by Albrecht Diirer. 



List of Illuminated Initials. 



i. — I — From Italian Illuminations, Fifteenth Century. 

2. — Q, — From Summa Bartholomsei Pisani Ord. Prsedie. de Casibus 

Conscientise, 1475. 
3. — M — Italian, British Museum, Fifteenth Century. 
4. — A — From Orthographia Practica, 1548. 
— I — From Golden Bible, printed at Augsburg, end of Fifteenth Cen- 
tury. Tailpiece — Queen Cunegunde, by Hans Burgmair. 
6. — — From Harleian Coll., Fifteenth Century. 
7.— E — MSS. Written in Spain, Fifteenth Century. 
A — Fust and Schoeffer's Psalter, about 1457. 

I — Volume of Latin Poems, British Museum, Fifteenth Century. 
Tailpiece — St. Sebald, by Peter Vischer. 
10. — I — From Fust and Schoeffer's Bible, about 1457. Tailpiece — St. 

Lorens, by Albrecht Diirer. 
11. — H — From a Copy of Romaunt de la Rose, beginning of Sixteenth 
Century. 
From an Engraving on Wood, beginning of Sixteenth Century. 
From "Titus Livius," Fifteenth Century. 
From German Bible, printed at Wittenberg, 1584. 
Italian, British Museum, Fifteenth Century. 
From Summa Bartholomsei, about 1475. 
From MSS. Written in Spain, Fifteenth Century. Tailpiece — 

Armourer, from a Wood-cut of Sixteenth Century. 
From Fust and Schoeffer, about 1457. 
From Orthographia Practica, 1548. Tailpiece — Shoemaker, from 

a Wood-cut of Sixteenth Century. 
From a Missal, British Museum, Fifteenth Century. 
From Fust and Schoeffer, about 1457. 
From Italian Illuminations, Sixteenth Century. 
From Golden Bible, printed at Augsburg, Fifteenth Century. 
From a Copy of the Sforziada, British Museum, 1490. 
From "Titus Livius," Fifteenth Century. 
From the Missale Traijectense, 1515. 



12 


— H 


*3 


— E 


14. 


— F 


I 5- 


— T 


16. 


— F 


1 7- 


— A 


18. 


— T 


19. 


— H 


20. 


— B 


21. 


— P 


22 


— A 


23- 


— V 


24. 


— N 


25- 


— T 


26. 


-G 



Small Initials from a Beuedictionale, about 1480, and Alphabets of the end of the Fifteenth 
Century. 



THE PEGNITZ. 




V 



N THE VALLEY OF THE 1/ESNITZ, WHERE AGROSS BROAD 



MEADOW+LANDS 



R 



th> 



2E THE BLUE riRANGONIAN MOUNTAINS:, IfUREMBERS 



THE ANCIENT, STANDS. 



DURER PLfiTZ SND CISTLE. 




4B 



UAINT OLD TOWN OP TOIL AND TRAFFIC, QUAINT OLD 



TOWN OF ART AND SONS, 



EMORIES HAUNT THY POINTED SABLES, LIKE THE 



ROOKS THAT ROUND THEM THRONK 



EMPEROR MAXIMILIAN, FROM HOFKIRCHE, INNSBRUCK. 




Ji|[ ddle/Ig 



h 



EMORIES OP THE \lfEDDIiEnSE8;, WHEN THE EM-+ 



PERORS, ROUGH AND BOLD, 



AD THEIR DWELL INS IN THY GftSTLE, TIME+DEPYI 



8ENTURIES OLD 



FLEISCHBMK. 




^anT*~ PTt 




ND TOY BRAVE AND THRIFTY BURGERS BOASTED, IN 




II! 



THEIR UN80UTH RHYME, 



HAT THEIR SREAT IMPERIAL 1 TY STRETCHED ITS' HAND 



THROUGH EVERY SLIME 



y- 



HEIDENTHURM, NUREMBERG CASTLE. 




N THE- (SOU RT+ YARD OP THESASTLE, BOUND WITH MANY 







AN IRON BAND, 



yV^ueen 



a 



LINISUNDE 8 HAND 




ST. SEBILD'S RECTORY, 




N THE SQUARE THE ORIEL WINDOW, WHERE IN OLD 



MEROIG DAYS 



ffl 



AT THE POETV/ELSHIOR SINSIN8 Jl AISERV/AXIM IL 



J\ai8erJ1^; 



IAN'S PRAISE. 



THE SCHONE BRUNNEN. 




VERYWHERE JL SEE AROUND ME RISE THE WONDROUS 



OUNTAINS WROUSMT WITH RISHEST SSULPTURE STANDING 



N TOE SOMMON MART 



PORTAL OF ST. LORENZ. 




ND ABOVE SATUEDRAL DOORWAYS SAINTS AND BISHOPS 



6ARVED IN STONE, 



1 



Y A FORMER A0E COMMISSIONED AS APOSTLES TO 



OUR OWN 



SHRINE OF ST. SEBflLD, BY PETER YISCHER. 




N THE SRURSH OP SAINTED<vJEBALD SLEEPS ENSHRINED 



MIS' HOLY DUST, 



D IN BRONZE THE 



JHwELVE/i 



P02TL.E2 0UARD FROM 



A(5E TO AGE THEIR TRUST,- 




PYX, CHURCH OF ST. LORENZ, BY SDSM KRSFFT, 




h 



N THE GHURgH OF SAI NTED JiAWRENGE STANDS A PIX 



OF SCULPTURE RARE, 



KE A FOAMY SHEAF OF FOUNTAINS, RISING THROUGH 



THE PAINTED AIR. 




SLBRECMT DURER'S HOUSE, 






nti 



ERE, WttENf_ART WAS STILL REL1SION, WITtt ft SIMPLE, 



REVERENT WEART, 
M ^ t IVED AND LABOREDHiLBREBttT, ^i/URER, TME WAN0E+ 
LIST OPQRT, 




PRAYING HANDS, BY ALBRECMT DURER, MUSEUM, VIENNA. 



_*V, 




AND IN SORROW, TOILING. STILL WITtt 



KE AN EMIGRANT HE WANDERED, SEEKINS FOR THE 



•Oetter^/and. 



CHURCHYSRD OF ST. JOHN AND TOMB OF ALBRECMT DURER. 




MIgRAVIT 



2 TME INSSRIPTION ON THE T0MB+2T0NE 



WHERE ME LIES: 



EftD HE IS NOT, — BUT DEPARTED,--- FOR TttE ARTIST 



NEVER DIES 



DURER PLSTZ AND STATUE OF SLBRECHT DURER. 




AIRER SEEMS THE AN0IENT S ITY, AND TOE SUNSHINE 



in 



SEEMS MORE FAIR, 



HAT HE ONSE HAS TROD ITS PAVEMENT, THAT HE 



ON8E HAS B-REATHED ITS AIR 



CHURCH OF ST. LORENZ. 










WROUStt TWESE STREETS SO BROAD AND STATELY.. THESE 



OBS0URE AND DISMAL LANES, 



tt 



ft 



LKED OF YORE THE VJASTER+ SINSERS, (WANTING RUDE 



POETIg STRAINS 



OLD BRIDGE. 




ROM REMOTE AND SUNLESS SUBURBS, SAME TttEY TO 



THE FRIENDLY GUILD 



^^JuiLDlNG NESTS I N Jt If 



UILD1NG NESTS IN I AME S GREAT TEMPLE, AS IN 



SPOUTS THE SWALLOWS BUILD. 



GENERAL VIEW OF NUREMBERG FROM THE CASTLE. 




S THE WEAVER PLIED THE SHUTTLE, WOVE HE TOO THE 



MYSTIC? RHYME, 



ND THE SMITH HIS IRON MEASURES HAMMERED TO 



THE ANVIL' S SHI ME; 




MARKET PLKCE SND SCHONE BRIJNNEN. 




<J 



ttANKINS V OD, WMOSE BOUNDLESS WISDOM MAKES 



TME FLOWERS OP POESY BLOOM 



N TME FORGE S DUST AND BINDERS, IN TME TISSUES OF 



TME LOOM 



STATUE OF HANS SACHS. 




ASMS, THE OOBBLER+POET. LAUREATE OF 



TttE .GENTLE GRAFT, 



SE2T OF TRE 



1UIU 



ASTERS, IN HUGE 



FOLIOS SANS AND LAUSUED . 




STSMMMOF, 




UT HI2 HOUSE IS NOW AN ALE+ttOUSE, WITH ft NISELY 



2ANDED FLOOR, 



ND ft OAKLAND IN THE WINDOW, AND HIS FAOE ABOVE 



THE DOOR; 



PORTRAIT OF HANS SACHS. 




AINTED BY SOME HUMBLE ARTIST, A2 FN/1 DAM 



» 




1/1 



USKHMAN'G SONS 



S THE OLD MAN GRAY AND DOVE + LIKE, WITH HiS GREAT 



BEARD WHITE AND LONG. 



HIMMELSTHURM, NUREMBERG CfiSTLE. 




ND AT NIGHT THE SWART MESHANI8 GOMES TO DROWN 



J) 



HIS GARK AND GARE 



UAFF1NG ALE FROM PEWTER TANKARDS, IN THE MAS^ 



TER'S ANTIQUE GHA1R 



■ T^isS^SroTIEirnaHSB? 




iwnn \\m\ ■mmmi (itm iflwt 



a 



CMflRLEMME. BY 1LBRECHT DURER. 




AN1SHED IS THE ANIENT SPLENDOR. AND BEFORE MY 



ft 



DREAMY EYE 



AVE THESE M1NSLINS SHAPES AND FIGURES, LIKE A 



FADED TAPESTRY. 



HANS SACHS AND ALBRECHT DURER. 




\\OUN0ILS, NOT TMy/\a 



OT TffYV\pUNg[LS, NOT TttY/\AI2ERS, WIN FOR THEE 



TttE WORLD'S REgftRD; 
cKJuT TRY PAINTERjQLBREGtfT J/iJRER, ANDj^ANg 
•OMffl, TRY 0OBBLER+ BARD . 



PMIER'S PLITZ, 




on 



iHUS, \J AiUREMBERS, ft WANDERER FROM ft REGION 



FftR ftWftY 



S WE PA0ED THY STREETS AND KOURT*YftRDS, SANS IN 



THOUGHT HIS 8ARELESS LAY: 



MELflNCOLIJL BY SLBRECHT DURER. 



TO 

ssbo 




